Contemporary Graphics’ Generation And Variation In Design Semiotics

Repetition graphic is an important form of graphic expression that has emerged in human life.It originated as a form of decorative art and has been used throughout the centuries to beautify life and convey meaning.However,during the modernist design period,ornament was reduced to a form of "crime" and suppressed,and repetition graphics began to change,moving from the original field of ornament to the direction of graphic composition.With the development of digital technology,contemporary graphics have once again changed and mutated in a new way,and a new trend of repetition graphics has emerged,which has become a topic of widespread concern and discussion within the design industry.Nowadays,from the perspective of the development of the times,we re-examine this phenomenon of graphic renewal,how has it changed in appearance and connotation? How do we position it today and understand the repetition graphics? There is a deep semiotic and aesthetic meaning behind this.In the context of the new era,contemporary repetition graphics are presenting a more diverse and open outlook,and some new styles such as disorderly,fluid,fractal,fractal,parametric,etc.can no longer be explained by the aesthetic laws of traditional decoration alone,and their visual effects have produced mutations.Behind this,we can witness not only the changes in technology and media,but also the aesthetic changes produced in contemporary times that occupy an equally important place.The scope of this article focuses on the period from the 1990 s to the present,and takes repetition graphics as an example to discuss the generation and variation of contemporary graphics,and analyzes and discusses repetition graphics through the influence of various factors in the contemporary context.We will deepen the semiotic meaning of graphic design,and analyze,summarize and conclude the aesthetic and visual changes in the new era in the context of design semiotics,which can provide a powerful help for the theory and practice of graphic design innovation in a complex and diversified context.In this paper,the research content of the article is divided into semantics,syntactic,and pragmatic according to the classification of mathematical logic semiotics by American philosopher Charles William Morris.In terms of semantics,the analysis of the morphological functions of repetition graphics is used to explore their aesthetic,practical,and symbolic-cognitive functions;in terms of syntactic,the study of the established laws and non-orderly forms of repetition graphics is used to present new forms and orders of visual transformation;in terms of pragmatic,the study of the ideology of aesthetics is used to reflect the way designers and audiences In terms of symbolic semantics,the study of aesthetic ideology reflects the changing concepts of designers and audiences in the transmission and reception of graphics and their use,thus summarizing the aesthetic changes and variations of contemporary graphics.The following results can be obtained from the study: 1.The analysis of the important points in the historical development of design since the modernist period,the critique and transformation of decoration,to explore the motives for the alienation of contemporary graphics in the digital age.2.In terms of semantics,repetition graphics present diverse contemporary characteristics,including the expression of the diversity of visual pleasures,the dissemination of design symbols and the comprehensive presentation of icon,index and symbol from the perspective of form-bearing functions,and this classification helps to analyze the semantics and can summarize the value and meaning of contemporary graphics.3.In terms of syntactic,repetition graphics have produced new movements in both surface and deep forms.Compared with the inherent formal laws,contemporary repetition graphics present a diverse visual language and are more transboundary in their conceptual and expressive paths.4.In terms of pragmatic,aesthetic changes have largely influenced the communication and interaction between symbols and audiences.From the perspectives of aesthetic sense,aesthetic form and aesthetic context,the three levels of symbolic connotation to ideology can be reflected,and the meaning,identity,connotation and value in the context of contemporary graphic change and variation can be summarized from a multi-dimensional perspective.5.This paper will also provide some identification of the situation of its development in the context of artificial intelligence,as well as an outlook and reflection on the future.